Voice over written and performed by Chris Petit.
Berlin March 24, Kunst-Werke Berlin

Michael Althen or All Then,

2047 December,
part of masked simian deity. Origins obscure. We don’t know, we really don’t know how these godheads came about. There is scant evidence that practices existed of organising material in sequence, and part of these were known as Project 10ns, believed to have been a form of repetitive shadow dance involving contemporary gods, which were then displayed to attendant worshippers, distinguished by their craven, passive nature.
2048 February,
within this formula existed systems of interpretation given to figures of anti-deity, some of whom nevertheless achieved a cultish, deified nature, despite the lowliness of their position as copyists. The racing driver and playboy Slavoj Zizek was believed to have been among those who transcended the worthless task of transcribing the unfolding of the shadow dance in another forms, as well as the trinity of Farber, Rosenbaum and Durgnat.

2048 October,
the originality of the simian deity may be traced back to a fragment which resists interpretation in any contemporary context: a sublime moment outside the space of narrative comes when Keitel tries to start an unfamiliar car and the radio blasts out Mickey’s Monkey by the Miracles and an intransigent De Niro dances wildly on the other side of the windshield [fragment; origin unknown]. It is possible that Mickey’s Monkey may be a reference to Althen or All Then because Mickey is thought to have been a variation of the name Michael, and the scene needs to be read as some form of worship to the Althen or All Then cult.

2049 April,
it is also thought that something called screens were central to this deity of the Project 10ns, but there is dogmatic controversy over whether these screens were a device to show or the intention was to conceal.